AFFANDI | The Red Horse

Sotheby's Hong Kong, 6 April 2013, Lot 372

The work is in good condition overall as viewed. There is minor indication of very light handling along the edges of the work. Examination under ultraviolet light shows very light touch ups sprinkled on the top left corner (white impasto and teh area above the horse's nose), on the white impasto near the middle of the top register, green paint on the top right corner, yellow impasto on the tail, near the middle of the right register (green background), and a few strokes on the red horse. However, this is not visible with the naked eye. Framed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Over the course of his illustrious career, Affandi periodically portrayed equestrianism in several of his works, such as Horse Rider. However, the sight of a lone horse galloping in the wilderness, free, zestful and unrestrained, is rare, making The Red Horse that much more precious a piece in his oeuvre. Affandi is one of Indonesia's most celebrated artists, recognized for his unorthodox and idiosyncratic style, described as new expressionism. He is credited with invigorating the modernist movement in Indonesian art—he founded "Kelompak Lima" ("Group of Five") and "Lembaga Pelukis Rakyat (The People's Painters Association. In the present lot, Affandi's paint handling is instantly recognizable— dispensing with the brush and palette, he would squeeze the oil paint directly onto the canvas and conjure strokes of heavy, tactile impasto with his fingers. His strokes are dynamic and spontaneous, possessing the horse with the same energy that moved through him. Forceful lines and dramatic curves form bold contours that accentuate the ripples of the muscle and the quivering of the haunches, as the horse hurtles across the frame with frenzied, frenetic energy.

Affandi's abundant use of red tones also symbolizes that strength and speed. The wind wisps the horse's mane and tail into the air like flames, represented by the red strokes and yellow accents that whirl and swirl. It is as though the horse has been set ablaze in an eruption of energy and vibrant color. Its eyes wide, nostrils flared, and teeth bared, the horse opens itself up to the great expanse around it. Set against the horse is a mesmerizing landscape of green and blue swirls that rise and fall. Increasingly, as it falls behind the horse, the landscape warps and grows in intensity, as though being swept backwards by the intensity of the horse's gallop.

Although Affandi was a maestro of expressionistic paintings, reference to reality was never lost. He would often set up his easel before a scene and take in the details with his penetrating observation, before enthralling his audience with his intuitive and vigorous daubs of paint. Affandi's approach also embodies his ideal of honest representation and authenticity, rather than 'rehearsed reverence'. He sought to render life as he saw it, allowing us to be engulfed by the raw power and emotions emanating from the canvas.